Yes, agreed Michael, individual responsibility for "ignoring work we don't care for" or using our own filters and folders often seems to be curiously overlooked... as though we give up agency by signing onto a given list, an "all or nothing" socio-electronic fundamentalism. I'd be curious to hear others' perspectives about "non academic frivolity" and the polyphony that some of us sometimes miss. Where and how is this particular Art History contextualised? (who's it for?) How self-referential is its story, and how might this be framed in ways that elide wider questions - technological, socio-economic, cultural values systems etc - that form its determinant underpinnings? Or are people not interested?
best
sj
________________________________________
From: Curating digital art - www.crumbweb.org [[log in to unmask]] on behalf of Michael Szpakowski [[log in to unmask]]
Sent: Tuesday, 8 October 2013 9:45 a.m.
To: [log in to unmask]
Subject: Re: [NEW-MEDIA-CURATING] Troll art?
Personally I have derived more pleasure, instruction and that-thing-that-I-engage-with-art-to-get from Alan Sondheim's work on lists than I have from a great deal of art presented in more "legitimate" contexts. It's not only the work, which is beautifully made, hugely smart and unfashionably vulnerable and human, but the creative urgency that drives it that is so affecting. This goes to the heart of things - to even dream that this work might present a 'problem' is itself, for me, a huge problem. Are lists somehow finite? Can folk not choose to ignore work they don't care for? Have people heard of filters and folders? Perhaps its the by-passing of the curator that makes a curatorial list jittery.
On a related note, I came to Rhizome in, I think, 2000 when it was packed with all sorts of nn & other related "spamming", "trolling" , "flaming" and all sorts of non conventional art world and non academic frivolity too and can never recall finding it it other than exhilarating . It's the multiplicity of absolutely democratic ( at least from the POV of the mechanics of posting) voices that is special - a wonderful polyphony. I miss it; I don't think it's passébut that its demise, or more hopefully, eclipse, is connected with the ongoing corporatisation of what were once wide open spaces. Furtherfield and Netbehaviour are to be congratulated on resisting this. The beautiful, shiny, dead eyed corpse that is Rhizome today is a testament to the worst of it ( it remains, of course, a useful resource). This is not just a historical matter to be observed and commented upon but an ethical one too.
michael
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From: Simon Biggs <[log in to unmask]>
To: [log in to unmask]
Sent: Tuesday, October 8, 2013 7:57 AM
Subject: Re: [NEW-MEDIA-CURATING] Troll art?
I consider Alan Sondheim's work an example of list-dependent practice. It's not trolling or flaming but some might consider it spam. If you belong to Netbehaviour be ready to receive at least one (perhaps a few) emails a day from Alan. I find them generally interesting and sometimes illuminating. Every now and then they are very affecting. Some lists would (and did) kick Alan off for this activity but most members of Netbehaviour seem to welcome his posts.
best
Simon
On 8 Oct 2013, at 06:29, Charlotte Frost <[log in to unmask]> wrote:
> Watching the comments on my Facebook page alone let alone discussion here
> I am conscious that there are parts of the histories of lists that might
> never be untangled. Certainly the Syndicate demise caused a lot of pain and
> I have no wish to drag all that up. Perhaps I can swerve the conversation by
> asking if anyone thinks there has ever been/is an art to spamming, flaming
> and trolling? I'll put this question on Facebook and Twitter too to see what
> comes upŠ
>
> Charlotte
>
Simon Biggs
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[log in to unmask] Edinburgh College of Art, University of Edinburgh
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http://www.research.ed.ac.uk/portal/en/persons/simon-biggs%285dfcaf34-56b1-4452-9100-aaab96935e31%29.html
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